Whenever you speak to your microphene,the mic bai
your voice, and the space you are in. If that space is a small
room with hard walls, a distinctly "hollow" sound will become
part of your recording. You may sound like you are recording
in a cave or a tunnel.
We want to hear what you have to say, but we don't want to
hear the sound of your room. Recording studios and radio
stations expend a lot of effort to tame the room. Dense
fiberglass panels are often attached to the walls and ceiling,
so that much of the sound that hits the walls gets absorbed,
and doesn't bounce back to the mic. Additionally, bumpy foam
rubber panels attempt to reduce some of the high frequency
That's the ideal approach, if you have a permanent recording
location, and the budget for such things. But broadcasters
often find themselves in acoustically "imperfect" conditions.
What can you do to keep the sound under control?
Keep the mic close to he sound source. 4-8 inches from the mouth
is typically the "sweetspot for spokenvoice. Your voice will
dominate the soundfield the mic ishearing. Any noisesfrom the
environmentwill be significantlyless.
ZOOM callers often speak to their computer's built-in mic, rather
than a handheld. The computer's mic is quite a distance away,
and has a greater chance of hearing other sounds at least as loud
as you. Take the effort to connect your handheld mic to the
computer; it will make a world of difference in clarity.)
If the room sounds are still heard, try using a mic processor.
Judicious use of the downward expander feature can
dramatically reduce the background noise, while still sounding
very natural. The mic processor also provides compression
for a consistent audio level, and some additional functions to
add some extra polish to your sound.
You've got something important to say. We want to be sure it's
heard as clearly as possible. Give me a call... we'll talk about